Toward New Cinematic Foundations
Toward New Cinematic Foundations
Adalberto Kemeny and Rodolfo Lustig’s dependency on São Paulo’s industrial and political elite to produce São Paulo, Symphony of a Metropolis was not exceptional. By the late 1920s American films occupied 80 percent of the Brazilian market, leaving little space for local production. Without full access to the domestic market, producers could not achieve adequate returns on their investments, and consequently the process of capital accumulation within the industry was stifled, as was production. Even the temporary disruption of the coming of sound did not end Hollywood’s ubiquity in Brazil. In fact, the arrival of the talkies further entrenched US cinema’s presence. The high costs of acquiring synchronized equipment meant that local investment lagged behind Hollywood and allowed the North American industry to maintain its hegemony. By the early 1930s, North American dubbing and subtitling techniques had proved popular among Brazilian audiences, and Hollywood increased its presence in the country. In the face of North America’s dominance, domestic production was unstable and unprofitable, and local producers were mostly unable to attain a sufficient return on their investments to allow them to develop on a larger scale. ...
California Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
Please, subscribe or login to access full text content.
If you think you should have access to this title, please contact your librarian.
To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.
